[indent][indent][indent][h1][color=#10100f]β–ˆ π’žπ‘œπ“π“Ž π‘…π‘œπ“ˆπ’Ύπ‘’ πŸ§ΈΰΎ€ΰ½² [/color][/h1][/indent][table][row][color=#2e2c2c][sup][h3][b] β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…[right]β–…β–…β–…β–…β–…β–…β–…β–…β–…[/right] [/b][/h3][/sup][/color][/row][row][cell][sub][sub][center][img]https://i.pinimg.com/1200x/33/e1/fb/33e1fb776cf3ea14009d01d7f2751cce.jpg[/img] [img]https://i.postimg.cc/kgstktm2/blockii.jpg[/img] [img]https://img.roleplayerguild.com/prod/users/019bc8eb-04bf-7293-9087-80e3568ad8ce.webp[/img] [/center][/sub] [center][color=#cecece][b] [color=10100f]β–ˆ β–ˆβ–ˆβ–ˆ β–ˆβ–ˆ β–ˆ[/color] S U M M A R Y [color=10100f] β–ˆ β–ˆβ–ˆ β–ˆβ–ˆβ–ˆ β–ˆ [/color][/b][/color][/center][/sub] [indent][sub][color=#10100f][b]MARGOT ROSALIE STERLING[/b][/color] [color=#10100f][b]AGE[/b][/color] [color=dcdcdc]πšπš πšŽπš—πšπš’-πšœπš’πš‘ (𝙸 πš‘πšŠπš 𝚝𝚘 πšπš˜πšžπš‹πš•πšŽ πšŒπš‘πšŽπšŒπš” πšπš‘πš’πšœ πš“πšžπšœπš πš—πš˜πš , πšœπš˜πš›πš›πš’. β€’ - β€’)[/color] [color=#10100f][b]GENDER[/b][/color] [color=dcdcdc]πšπšŽπš–πšŠπš•πšŽ[/color] [color=#10100f][b]ETHNICITY/RACE[/b][/color] [color=dcdcdc]πš πš‘πš’πšπšŽ[/color] [color=#10100f][b]MARTIAL STATUS[/b][/color] [color=dcdcdc]πšœπš’πš—πšπš•πšŽ (πšπšŽπšŒπš‘πš—πš’πšŒπšŠπš•πš•πš’. πš•πš’πš”πšŽ πšŸπšŽπš›πš’ πšπšŽπšŒπš‘πš—πš’πšŒπšŠπš•πš•πš’)[/color] [color=#10100f][b]SEXUALITY[/b][/color] [color=dcdcdc]πš‹πš’πšœπšŽπš‘πšžπšŠπš•[/color] [/sub][/indent][sub][color=#2e2c2c]β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”[/color][/sub][/cell][cell][color=#10100f][b]β–…[/b][/color][color=cecece][sub][b]BIOGRAPHY[/b][/sub][/color][color=#10100f][b]β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…[/b][/color][indent][color=dcdcdc][justify][sub]𝙸 πšπš›πšŽπš  πšžπš™ πš’πš— 𝚊 πš‘πš˜πšžπšœπšŽ πš πš‘πšŽπš›πšŽ πšŽπšŸπšŽπš›πš’πš˜πš—πšŽ πš–πšŽπšŠπš—πš πš πšŽπš•πš•. πšπšŽπšŠπš•πš•πš’, πšπš‘πšŠπšβ€™πšœ πšπš‘πšŽ πšœπš’πš–πš™πš•πšŽπšœπš πšŠπš—πš πš”πš’πš—πšπšŽπšœπš 𝚠𝚊𝚒 𝚝𝚘 πš™πšžπš πš’πš. π™Όπš’ πš™πšŠπš›πšŽπš—πšπšœ πš πšŽπš›πšŽ πš πš˜πš—πšπšŽπš›πšπšžπš•πš•πš’ 𝚜𝚝𝚎𝚊𝚍𝚒, πšπš‘πšŽ πš”πš’πš—πš 𝚘𝚏 πš™πšŽπš˜πš™πš•πšŽ πš πš‘πš˜ πš πšŽπš›πšŽ πššπšžπš’πšŽπšπš•πš’ πšŠπšπšπšŽπš—πšπš’πšŸπšŽ πš‹πšžπš πš—πšŽπšŸπšŽπš› πš—πš˜πšœπš’. πšƒπš‘πšŽπš’ πš πš˜πš›πš”πšŽπš πš‘πšŠπš›πš, πšŠπšœπš”πšŽπš πšŠπš‹πš˜πšžπš πš–πš’ 𝚍𝚊𝚒 πš˜πšŸπšŽπš› πšπš’πš—πš—πšŽπš›πšœ 𝚘𝚏 πš–πšŽπšŠπšπš•πš˜πšŠπš πš˜πš› πšœπš™πšŠπšπš‘πšŽπšπšπš’, πšŠπš—πš πšπš›πšžπšœπšπšŽπš πš–πšŽ 𝚝𝚘 πš‘πšŠπš—πšπš•πšŽ πš–πš’ πš˜πš πš— πš•πš’πšπšπš•πšŽ πš πš˜πš›πš•πš. 𝙸 πš•πšŽπšŠπš›πš—πšŽπš πš™πš›πšŽπšπšπš’ πšŽπšŠπš›πš•πš’ πš˜πš— πšπš‘πšŠπš πš’πš 𝙸 πš“πšžπšœπš πšœπšŽπšŽπš–πšŽπš πšπš’πš—πšŽβ€”πš’πš πš–πš’ πš›πš˜πš˜πš– 𝚠𝚊𝚜 πšπš’πšπš’ πšŠπš—πš πš–πš’ πš›πšŽπš™πš˜πš›πš πšŒπšŠπš›πš 𝚠𝚊𝚜 πšπšŽπšŒπšŽπš—πšβ€”πš—πš˜ πš˜πš—πšŽ πš πš˜πšžπš•πš πš•πš˜πš˜πš” 𝚝𝚘𝚘 πšŒπš•πš˜πšœπšŽπš•πš’. π™°πš—πš πš‘πš˜πš—πšŽπšœπšπš•πš’, πš πš‘πšŠπš πšŒπšŠπš— 𝙸 𝚜𝚊𝚒? π™Έπš 𝚠𝚊𝚜 πšŒπš˜πš–πšπš˜πš›πšπš’πš—πš. π™»πš’πš”πšŽ 𝚊 𝚌𝚘𝚣𝚒 πš‹πš•πšŠπš—πš”πšŽπš 𝙸 πšŒπš˜πšžπš•πš πš™πšžπš•πš• πš˜πšŸπšŽπš› πš–πš’ πš‘πšŽπšŠπš. π™»πš˜πš˜πš”πš’πš—πš πš‹πšŠπšŒπš” πš—πš˜πš , πšπš‘πš˜πšžπšπš‘, 𝙸 πšπš‘πš’πš—πš” πšπš‘πšŠπš πšŒπš˜πš–πšπš˜πš›πš πš‹πšŽπšŒπšŠπš–πšŽ 𝚊 πš‘πšŠπš‹πš’πšβ€¦ πš˜πš—πšŽ 𝙸 πš—πšŽπšŸπšŽπš› πš›πšŽπšŠπš•πš•πš’ πš•πšŽπšŠπš›πš—πšŽπš πš‘πš˜πš  𝚝𝚘 πš‹πš›πšŽπšŠπš”. π™±πšŽπš’πš—πš πšŠπš— πš˜πš—πš•πš’ πšŒπš‘πš’πš•πš πšœπšžπš’πšπšŽπš πš–πšŽ πš™πšŽπš›πšπšŽπšŒπšπš•πš’. 𝙸 πš•πš˜πšŸπšŽπš πš‘πšŠπšŸπš’πš—πš πš–πš’ πš˜πš πš— πšœπš™πšŠπšŒπšŽ, πš–πš’ πš˜πš πš— πš πšŽπš’πš›πš πš•πš’πšπšπš•πšŽ πš›πš˜πšžπšπš’πš—πšŽπšœ, πšŠπš—πš πšπš‘πšŽ πšπšŽπšŽπš™, πšπšŽπš•πš’πšŒπš’πš˜πšžπšœ πššπšžπš’πšŽπš 𝚘𝚏 𝚊 πš‘πš˜πšžπšœπšŽ 𝚝𝚘 πš–πš’πšœπšŽπš•πš. 𝙸 πš πšŠπšœπš—β€™πš πš•πš˜πš—πšŽπš•πš’, πšŽπš‘πšŠπšŒπšπš•πš’; 𝙸 𝚠𝚊𝚜 πš“πšžπšœπšβ€¦ πšœπšŽπš•πšŽπšŒπšπš’πšŸπšŽπš•πš’ πšœπš˜πšŒπš’πšŠπš•. π™Έβ€™πšŸπšŽ πšŠπš•πš πšŠπš’πšœ πšπš˜πšžπš—πš πš’πš πšŽπšŠπšœπš’πšŽπš› 𝚝𝚘 πšŽπš‘πš’πšœπš πš—πšŽπšŠπš› πš™πšŽπš˜πš™πš•πšŽ πšπš‘πšŠπš— πšŒπš˜πš–πš™πš•πšŽπšπšŽπš•πš’ πš πš’πšπš‘ πšπš‘πšŽπš–. πšƒπš‘πšŽπš›πšŽβ€™πšœ 𝚊 𝚜𝚊𝚏𝚎𝚝𝚒 πš’πš— πš‹πšŽπš’πš—πš πšŠπšπš“πšŠπšŒπšŽπš—πš, 𝚒𝚘𝚞 πš”πš—πš˜πš ? π™Έπš πš•πšŽπšŠπšŸπšŽπšœ πš•πšŽπšœπšœ πš›πš˜πš˜πš– πšπš˜πš› πšπš’πšœπšŠπš™πš™πš˜πš’πš—πšπš–πšŽπš—πš πš˜πš› πšπš˜πš› πšπš‘πš˜πšœπšŽ πšŠπš πšπšžπš• πš–πš’πšœπšžπš—πšπšŽπš›πšœπšπšŠπš—πšπš’πš—πšπšœ πš πš‘πšŽπš›πšŽ 𝚒𝚘𝚞 𝚜𝚊𝚒 πšπš‘πšŽ πš πš›πš˜πš—πš πšπš‘πš’πš—πš πšŠπš—πš πš πšŠπšπšŒπš‘ πšœπš˜πš–πšŽπš˜πš—πšŽβ€™πšœ πšŽπš‘πš™πš›πšŽπšœπšœπš’πš˜πš— πš“πšžπšœπšβ€¦ πšŒπš‘πšŠπš—πšπšŽ. π™Έπš— πšœπšŒπš‘πš˜πš˜πš•, 𝙸 𝚠𝚊𝚜 πšπš‘πšŽ πšœπšπšžπšπšŽπš—πš πšπšŽπšŠπšŒπš‘πšŽπš›πšœ πšŒπšŠπš•πš•πšŽπš β€œπš™πš•πšŽπšŠπšœπšŠπš—πšβ€ 𝚊𝚝 πš™πšŠπš›πšŽπš—πš-πšπšŽπšŠπšŒπš‘πšŽπš› πšŒπš˜πš—πšπšŽπš›πšŽπš—πšŒπšŽπšœ. 𝙸 πšπš’πš πš–πš’ πš πš˜πš›πš”, πšπš˜πš•πš•πš˜πš πšŽπš πš’πš—πšœπšπš›πšžπšŒπšπš’πš˜πš—πšœ 𝚝𝚘 πšπš‘πšŽ πš•πšŽπšπšπšŽπš›, πšŠπš—πš 𝚜𝚝𝚊𝚒𝚎𝚍 πšπš›πšŠπšŒπšŽπšπšžπš•πš•πš’ 𝚘𝚞𝚝 𝚘𝚏 πšπš›πš˜πšžπš‹πš•πšŽ. 𝙸 𝚠𝚊𝚜 πš—πšŽπšŸπšŽπš› πšπš›πš’πšŸπšŽπš— πš‹πš’ πšŒπš˜πš–πš™πšŽπšπš’πšπš’πš˜πš—; πš‹πšŽπš’πš—πš πš˜πšŸπšŽπš›πš•πš˜πš˜πš”πšŽπš πšπšŽπš•πš πš–πš˜πš›πšŽ πš•πš’πš”πšŽ 𝚊 πš›πšŽπš•πš’πšŽπš πšπš‘πšŠπš— πšŠπš— πš’πš—πšœπšžπš•πš. πšƒπš‘πšŽπš›πšŽβ€™πšœ 𝚊 πš›πšŽπšŠπš• πšπš›πšŽπšŽπšπš˜πš– πš’πš— πš—πš˜πš πš‹πšŽπš’πš—πš πšŠπš—πš’πš˜πš—πšŽβ€™πšœ πš™πš›πš˜πš‹πš•πšŽπš–! πš‚πš˜πš–πšŽπš‘πš˜πš , 𝙸 πš“πšžπšœπš πš™πšŠπšŒπš”πšŽπš πšπš‘πšŠπš πš πš‘πš˜πš•πšŽ πš–πš’πš—πšπšœπšŽπš πš’πš—πšπš˜ πš–πš’ πš‹πšŠπšŒπš”πš™πšŠπšŒπš” πšŠπš—πš πšŒπšŠπš›πš›πš’πšŽπš πš’πš πš›πš’πšπš‘πš πš’πš—πšπš˜ πšŠπšπšžπš•πšπš‘πš˜πš˜πš πš πš’πšπš‘πš˜πšžπš πšŽπšŸπšŽπš› πšœπšπš˜πš™πš™πš’πš—πš 𝚝𝚘 πššπšžπšŽπšœπšπš’πš˜πš— πš’πš. π™·πšŽπš›πšŽβ€™πšœ πšπš‘πšŽ πšπš‘πš’πš—πš: 𝙸 [i]πš”πš—πš˜πš  [/i]𝙸 πšŠπš‹πšœπš˜πš•πšžπšπšŽπš•πš’ 𝚍𝚘 [i]πš—πš˜πš[/i] πš‘πšŠπš—πšπš•πšŽ πšŒπš˜πš—πšπš•πš’πšŒπš πš πšŽπš•πš•. π™Όπš’ πš’πš—πšœπšπš’πš—πšŒπš πš’πšœ 𝚝𝚘 πšπš›πšŽπšŽπš£πšŽ, πš—πš˜πš πšπš’πšπš‘πš. πšƒπš˜ πšŠπš™πš˜πš•πš˜πšπš’πš£πšŽ πšπš’πš›πšœπš πšŠπš—πš πšŠπšœπš” πššπšžπšŽπšœπšπš’πš˜πš—πšœ πš•πšŠπšπšŽπš›, πšœπš–πš˜πš˜πšπš‘πš’πš—πš πšπš‘πš’πš—πšπšœ πš˜πšŸπšŽπš› πšŽπšŸπšŽπš— πš πš‘πšŽπš— π™Έβ€™πš– πš—πš˜πš πšπš˜πšπšŠπš•πš•πš’ πšœπšžπš›πšŽ πš πš‘πšŠπš πš πšŽπš—πš πš πš›πš˜πš—πš. 𝙸 πš”πš—πš˜πš  πš’πšβ€™πšœ πš—πš˜πš πšπš‘πšŽ πš‘πšŽπšŠπš•πšπš‘πš’πšŽπšœπš πšŠπš™πš™πš›πš˜πšŠπšŒπš‘ (πšπš›πšžπšœπš πš–πšŽ, π™Έβ€™πšŸπšŽ πš›πšŽπšŠπš πšŠπš•πš• πšπš‘πšŽ πšŠπš›πšπš’πšŒπš•πšŽπšœ), πš‹πšžπš πš’πšβ€™πšœ πš“πšžπšœπšβ€¦ πšŽπšŠπšœπš’πšŽπš›. π™Έπš πšπšŽπšŽπš•πšœ πšœπšŠπšπšŽπš› 𝚝𝚘 πš”πšŽπšŽπš™ πšπš‘πšŽ πšœπšžπš›πšπšŠπšŒπšŽ 𝚘𝚏 πšπš‘πš’πš—πšπšœ πšŒπšŠπš•πš– πšŠπš—πš πš™πš•πšŽπšŠπšœπšŠπš—πš πšπš‘πšŠπš— 𝚝𝚘 πš™πšžπš•πš• 𝚊𝚝 𝚊 πš•πš˜πš˜πšœπšŽ πšπš‘πš›πšŽπšŠπš πšŠπš—πš πš πšŠπšπšŒπš‘ πšŽπšŸπšŽπš›πš’πšπš‘πš’πš—πš πšžπš—πš›πšŠπšŸπšŽπš•. πš„πš—πšœπšžπš›πš™πš›πš’πšœπš’πš—πšπš•πš’, πš–πš’ πš›πšŽπš•πšŠπšπš’πš˜πš—πšœπš‘πš’πš™πšœ πšπšŽπš—πš 𝚝𝚘 πšπš˜πš•πš•πš˜πš  πšπš‘πšŽ πšœπšŠπš–πšŽ πš™πšŠπšπšπšŽπš›πš—. π™Έβ€™πš– πšŠπšπšπšŽπšŒπšπš’πš˜πš—πšŠπšπšŽ, πš‹πšžπš πš’πš—πšŒπš˜πš—πšœπš’πšœπšπšŽπš—πšβ€”πš‹πšŽπšπšπšŽπš› πš’πš— πšœπš‘πš˜πš›πš, πš‹πš›πš’πšπš‘πš πš‹πšžπš›πšœπšπšœ πšπš‘πšŠπš— πš’πš— πš•πš˜πš—πš, πšπšŽπšŽπš™ πšŒπš˜πš—πšŸπšŽπš›πšœπšŠπšπš’πš˜πš—πšœ (πš πš‘πš’πšŒπš‘ πš’πšœ πš”πš’πš—πšπšŠ πšπšžπš—πš—πš’, πšŒπš˜πš—πšœπš’πšπšŽπš›πš’πš—πš πš‘πš˜πš  πš–πšŠπš—πš’ πš–πšŠπš›πšŠπšπš‘πš˜πš— πš•πš’πšŸπšŽ πšœπšπš›πšŽπšŠπš–πšœ π™Έβ€™πšŸπšŽ πšπš˜πš—πšŽ). π™³πš˜πš—β€™πš 𝚐𝚎𝚝 πš–πšŽ πš πš›πš˜πš—πš, 𝙸 [i]πš•πš’πš”πšŽ[/i] πš™πšŽπš˜πš™πš•πšŽ. 𝙸 πš›πšŽπšŠπš•πš•πš’ 𝚍𝚘! π™±πšžπš 𝙸 πš—πšŽπšŽπš πš‘πšŽπšŠπš™πšœ 𝚘𝚏 πššπšžπš’πšŽπš πšŠπš—πš πšπš’πšœπšπšŠπš—πšŒπšŽ 𝚝𝚘 πšŠπšŒπšπšžπšŠπš•πš•πš’ πšπšžπš—πšŒπšπš’πš˜πš—, πš πš‘πš’πšŒπš‘ πš‘πšŠπšœ 𝚌𝚊𝚞𝚜𝚎𝚍 πš–πš˜πš›πšŽ πšπš‘πšŠπš— 𝚊 πš•πš’πšπšπš•πšŽ πšŒπš˜πš—πšπšžπšœπš’πš˜πš— πš˜πšŸπšŽπš› πšπš‘πšŽ πš’πšŽπšŠπš›πšœ. π™Έβ€™πš– πšπš›πš’πš’πš—πš 𝚝𝚘 πš‹πšŽ πš–πš˜πš›πšŽ πš‘πš˜πš—πšŽπšœπš πšŠπš‹πš˜πšžπš πš’πš πš—πš˜πš , πšŽπšŸπšŽπš— πš πš‘πšŽπš— πš–πš’ πš‘πš˜πš—πšŽπšœπšπš’ πšŒπš˜πš–πšŽπšœ 𝚘𝚞𝚝 𝚊 πš‹πš’πš πšŒπš•πšžπš–πšœπš’ πš˜πš› 𝚝𝚘𝚘 πš‹πš•πšžπš—πš. πš‚πš˜πš–πšŽπš πš‘πšŽπš›πšŽ πšŠπš•πš˜πš—πš πšπš‘πšŽ 𝚠𝚊𝚒, 𝙸 πš‘πšŠπš πšπš‘πš’πšœ πš•πš’πšπšπš•πšŽ πš›πšŽπšŸπšŽπš•πšŠπšπš’πš˜πš—: πš™πšŽπš˜πš™πš•πšŽ πšπš˜πš—β€™πš πšŠπš•πš πšŠπš’πšœ πš‘πšŽπšŠπš› πš πš‘πšŠπš 𝚒𝚘𝚞 [i]πšπš‘πš’πš—πš”[/i] πš’πš˜πšžβ€™πš›πšŽ πšœπšŠπš’πš’πš—πš. πšƒπš‘πšŽπš’ πš‘πšŽπšŠπš› πš πš‘πšŠπš πšπš‘πšŽπš’ πš—πšŽπšŽπš 𝚝𝚘 πš‘πšŽπšŠπš›, πš˜πš› πš πš‘πšŠπš πšπš’πšŸπšŽπšœ πšπš‘πšŽπš– πš™πšŽπš›πš–πš’πšœπšœπš’πš˜πš— 𝚝𝚘 𝚍𝚘 πš πš‘πšŠπš πšπš‘πšŽπš’ πšŠπš•πš›πšŽπšŠπšπš’ πš πšŠπš—πšπšŽπš 𝚝𝚘 𝚍𝚘. π™Έπš πš‘πšŠπš™πš™πšŽπš—πšœ πš πš’πšπš‘ πšπš›πš’πšŽπš—πšπšœ, πš’πš πš‘πšŠπš™πš™πšŽπš—πšœ πš πš’πšπš‘ 𝚍𝚊𝚝𝚎𝚜, πšŠπš—πš 𝚠𝚘𝚠, 𝚍𝚘𝚎𝚜 πš’πš πšŽπšŸπšŽπš› πš‘πšŠπš™πš™πšŽπš— 𝚊𝚝 πšœπšŒπšŠπš•πšŽ 𝚘𝚞𝚝 πš’πš— πšπš‘πšŽ πš‹πš’πš, πš πš’πšπšŽ πš πš˜πš›πš•πš. π™Έβ€™πšŸπšŽ πš‘πšŠπš 𝚝𝚘 πš•πšŽπšŠπš›πš—, πš™πšŠπš’πš—πšœπšπšŠπš”πš’πš—πšπš•πš’, πš‘πš˜πš  𝚝𝚘 πš‹πšŽ πšŒπš•πšŽπšŠπš›πšŽπš› πšŠπš—πš πšπš’πš›πš–πšŽπš› πšπš‘πšŠπš— πš πš‘πšŠπš πšπšŽπšŽπš•πšœ πš—πšŠπšπšžπš›πšŠπš•, πšŽπšœπš™πšŽπšŒπš’πšŠπš•πš•πš’ πšŠπš‹πš˜πšžπš πš‹πš˜πšžπš—πšπšŠπš›πš’πšŽπšœ πšπš‘πšŠπš πšœπšŽπšŽπš– πš˜πš‹πšŸπš’πš˜πšžπšœ πš’πš— πš–πš’ πš‘πšŽπšŠπš πš‹πšžπš πšπšŽπšŽπš• πšπš˜πšπšŠπš•πš•πš’ πšπšŽπš›πš›πš’πšπš’πš’πš—πš 𝚝𝚘 𝚜𝚊𝚒 𝚘𝚞𝚝 πš•πš˜πšžπš. π™³πšŽπšœπš™πš’πšπšŽ πšŽπšŸπšŽπš›πš’πšπš‘πš’πš—πš, 𝙸 πšœπšπš’πš•πš• πš™πš›πšŽπšπšŽπš› 𝚝𝚘 πš‹πšŽπš•πš’πšŽπšŸπšŽ πš–πš˜πšœπš πš™πšŽπš˜πš™πš•πšŽ πšŠπš›πšŽ πš”πš’πš—πš 𝚊𝚝 πš‘πšŽπšŠπš›πš. 𝙸 πšœπšπš’πš•πš• πšπš‘πš’πš—πš” πš–πš’πšœπšžπš—πšπšŽπš›πšœπšπšŠπš—πšπš’πš—πšπšœ πšŠπš›πšŽ πšžπšœπšžπšŠπš•πš•πš’ πšŠπšŒπšŒπš’πšπšŽπš—πšπšœ, πš—πš˜πš πšœπšŽπšŒπš›πšŽπš πš™πš•πš˜πšπšœ. πš‚πš˜πš–πšŽ πšπš˜πš•πš”πšœ πš‘πšŠπšŸπšŽ πšŒπšŠπš•πš•πšŽπš πšπš‘πšŠπš πš—πšŠπš’πšŸπšŽ, πšŠπš—πšβ€¦ πš˜πš”πšŠπš’, πšπšŠπš’πš› πš™πš˜πš’πš—πš. 𝙸 πšπš˜πš—β€™πš πšŽπš—πšπš’πš›πšŽπš•πš’ πšπš’πšœπšŠπšπš›πšŽπšŽ. π™±πšžπš 𝙸 πšŠπš•πšœπš˜ πš”πš—πš˜πš  πšπš‘πšŠπš πš˜πš—πšŒπšŽ 𝚒𝚘𝚞 πšœπšπš˜πš™ πšŠπšœπšœπšžπš–πš’πš—πš πšπš‘πšŽ πš‹πšŽπšœπš πš’πš— πš™πšŽπš˜πš™πš•πšŽ, πšπš‘πšŽ πš πš˜πš›πš•πš 𝚐𝚎𝚝𝚜 𝚜𝚘 πš–πšžπšŒπš‘ πš‘πšŽπšŠπšŸπš’πšŽπš› 𝚝𝚘 πšŒπšŠπš›πš›πš’ πšŠπš›πš˜πšžπš—πš. π™°πš•πš• 𝚘𝚏 πšπš‘πš’πšœ πš•πšŽπšŠπšπšœ πš–πšŽ 𝚝𝚘 𝚊 πšπšžπš—πš—πš’, πšœπš˜πš‹πšŽπš›πš’πš—πš πšπš‘πš˜πšžπšπš‘πš: 𝙸 πšπš˜πš—β€™πš πš›πšŽπšŠπš•πš•πš’ 𝚜𝚎𝚎 πš–πš’πšœπšŽπš•πš 𝚊𝚜 πšœπš˜πš–πšŽπš˜πš—πšŽ πšŒπšŠπš™πšŠπš‹πš•πšŽ 𝚘𝚏 πšŒπšŠπšžπšœπš’πš—πš πš›πšŽπšŠπš• πš‘πšŠπš›πš–. π™±πšžπš 𝙸 πš‘πšŠπšŸπšŽ πšœπš™πšŽπš—πš 𝚊 πš•πš˜πš 𝚘𝚏 πšπš’πš–πšŽ πš•πšŽπšŠπš›πš—πš’πš—πš πš‘πš˜πš  𝚝𝚘 πš•πš’πšŸπšŽ πš πš’πšπš‘ πšπš‘πšŽ πš”πš—πš˜πš πš•πšŽπšπšπšŽ πšπš‘πšŠπš πš‘πšŠπš›πš– πšŒπšŠπš— πš‘πšŠπš™πš™πšŽπš— πšŠπš—πš’πš πšŠπš’β€”πšŽπšŸπšŽπš— πš πš’πšπš‘ πšπš‘πšŽ πš‹πšŽπšœπš πš’πš—πšπšŽπš—πšπš’πš˜πš—πšœ, πšŽπšŸπšŽπš— πš πš‘πšŽπš— πš—πš˜πš‹πš˜πšπš’ πš–πšŽπšŠπš—πš πšπš˜πš› πš’πš 𝚝𝚘. πš‚πš˜πš–πšŽπšπš’πš–πšŽπšœ πš’πšβ€™πšœ 𝚊 πššπšžπš’πšŽπš πš‘πšžπš›πš, πš›πš’πšπš‘πš πš—πšŽπšŠπš›πš‹πš’. πš‚πš˜πš–πšŽπšπš’πš–πšŽπšœ πš’πšβ€™πšœ 𝚊 πš›πš’πš™πš™πš•πšŽ πšπšŽπš•πš πšπšŠπš› 𝚊𝚠𝚊𝚒 πšπš›πš˜πš– πšŠπš—πš’πšπš‘πš’πš—πš 𝚒𝚘𝚞 πšπš‘πš˜πšžπšπš‘πš πš’πš˜πšžβ€™πš πšπš˜πšžπšŒπš‘πšŽπš. π™Έβ€™πš– πš—πš˜πš πšπš˜πšπšŠπš•πš•πš’ πšœπšžπš›πšŽ πš πš‘πšŠπš πšπš‘πšŽ πš›πš’πšπš‘πš 𝚠𝚊𝚒 πš’πšœ 𝚝𝚘 πš‘πš˜πš•πš πšπš‘πšŠπš πš”πš’πš—πš 𝚘𝚏 πšπšŽπš—πšπš•πšŽ πš›πšŽπšœπš™πš˜πš—πšœπš’πš‹πš’πš•πš’πšπš’. π™Έβ€™πš– πšœπšπš’πš•πš• πšπš’πšπšžπš›πš’πš—πš πš’πš 𝚘𝚞𝚝, 𝚍𝚊𝚒 πš‹πš’ 𝚍𝚊𝚒, πšπš›πš’πš’πš—πš 𝚝𝚘 πš‹πšŠπš•πšŠπš—πšŒπšŽ πš‹πšŽπš’πš—πš πš”πš’πš—πš πš πš’πšπš‘ πš‹πšŽπš’πš—πš πšŒπš•πšŽπšŠπš›, πšŠπš—πš πš‹πšŽπš’πš—πš πš˜πš™πšŽπš— πš πš’πšπš‘ πš‹πšŽπš’πš—πš 𝚜𝚊𝚏𝚎. π™Έπšβ€™πšœ 𝚊 πš πš˜πš›πš” πš’πš— πš™πš›πš˜πšπš›πšŽπšœπšœ, 𝚒𝚘𝚞 πš”πš—πš˜πš ? π™±πšžπš π™Έβ€™πš– πšπšŽπšπšπš’πš—πš πšπš‘πšŽπš›πšŽ.[/sub][/justify][/color][/indent] [color=#10100f][b]β–…[/b][/color][color=cecece][sub][b]CAREER[/b][/sub][/color][color=#10100f][b]β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…[/b][/color][indent][color=dcdcdc][justify][sub]Margot Rosalie Sterling never meant to become Cozy Rosie. It started, like so many things do, in the clutter of a childhood bedroom. While attending Queen’s University in Kingston, Ontario, she began streaming mostly as a way to fill the silence, broadcasting under the handle Cozy Rosie with no professional plans whatsoever. Her early content was the definition of low-stakes: long, meandering productivity streams where she’d tackle coursework, casual gameplay sessions with friends, and extended β€œjust chatting” hours that felt more like a late-night phone call than a show. Growth was slow and steady, built on a feeling of genuine approachability, viewers tuning in just for company. That trajectory shifted during periods of heightened global uncertainty, like the 2019 pandemic, during which Cozy Rosie’s broadcasts circulated widely as calming or grounding content for most to enjoy. Viewer numbers increased sharply, accompanied by the rapid spread of clipped moments drawn from Margot’s offhand remarks and reactions. By the time she graduated, what had been a personal hobby had undeniably become a viable career. That’s when the professionals arrivedβ€”managers and agents stepping in to handle the opportunities suddenly flooding her inbox. As Cozy Rosie’s audience expanded, so too did the scope of her influence. Brand partnerships, sponsorships, and licensing agreements followed, eventually forming a broader commercial structure overseen by agents, managers, and legal counsel acting on Margot’s behalf. While she remains the public face of the platform, most operational and contractual decisions are handled at remove, with Margot’s role typically limited to review and approval rather than initiation. Naturally, her public communication began to change. With millions watching, her words carried new weight. Disclaimers became a regular feature, gently reminding viewers that her shared thoughts weren’t professional advice or blanket endorsements. She carefully emphasized the parasocial boundaries between creator and audience. These measures were widely seen as responsible, but they also signaled a quiet farewell to the unfiltered informality that had defined her early days. Observers noted a new caution in her live commentary, especially during sensitive cultural moments. She began relying more on prepared, considered statements rather than the real-time, stream-of-consciousness sharing that first built her community. While no single scandal forced this shift, the pattern suggested a learned responseβ€”a reaction to past audience boundary violations and a sobering awareness of the consequences that come with unfiltered visibility. By the end of 2025, "Cozy Rosie" had evolved into a recognizable lifestyle brand far beyond the streaming dashboard. Media profiles started to refer to Margot as a β€œdigital tastemaker” or a β€œwellness influencer,” titles that came with invitations to exclusive industry galas and high-profile events. She found herself navigating rooms filled with cultural and financial elites, a world away from her childhood bedroom. Despite her continued emphasis on relatability, the sheer scale of her platform made the lines blurry. It was becoming harder than ever to distinguish between her personal intent, her massive influence, and the weight of responsibility that followed in their wake.[/sub][/justify][/color][/indent][sup][color=#2e2c2c]β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”[/color][/sup][/cell][/row][/table][/indent][/indent][color=#10100f][b]β–…[/b][/color][color=cecece][sub][b]SUPPORTING CAST[/b][/sub][/color][color=#10100f][b]β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…β–…[/b][/color][table][row][cell][center][img]https://64.media.tumblr.com/a6f3e4102989e7e2d07ff57a7662bb9f/tumblr_no761gvE3h1qik4d9o1_1280.jpg[/img] [/center][sup][color=#2e2c2c]β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”[/color][/sup] [/cell][cell][indent][color=dcdcdc][justify][sub][b]THE MANAGER[/b] Eli stepped in to manage Margot’s professional life right around the time "Cozy Rosie" stopped being a hobby and became her full-time job. Polished, pragmatic, and intensely risk-aware, he handles everything from brand partnerships to public messaging, acting as a much-needed buffer between Margot and the more demanding parts of her growing platform. Their working styles are a study in opposites. Where Margot’s instinct is to avoid conflict and accommodate others, Eli’s is to decide and defend. He is particularly firm about maintaining clear, strong boundaries between the creator and the audience. Many of the gentle disclaimers that now frame Cozy Rosie’s streams and nearly all of the prepared statements released during any public scrutiny originate at his desk. He strongly discourages off-the-cuff responses when the online attention gets too intense, and Margot trusts Eli’s judgment implicitly, often accepting reassurance that matters are β€œhandled” without pressing for detail.[/sub][/justify][/color][/indent][cell][center][img]https://m.media-amazon.com/images/M/MV5BNjRiMzdiYjAtZDdjYS00YmEyLTg3ZDctZDE4NTdlMGIzZjk0XkEyXkFqcGc@._V1_FMjpg_UX1000_.jpg[/img] [/center][sup][color=#2e2c2c]β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”[/color][/sup] [/cell][cell][indent][color=dcdcdc][justify][sub][b]THE ASSISTANT[/b] Lena is the one who keeps the engine of Margot’s world running. While Eli handles the high-level strategy, Lena manages the intricate day-to-day logistics like Margot’s ever-shifting schedule, the complex travel coordination required, and the constant flow of correspondence that she filters with a sharp eye. Quietly efficient and notoriously observant, she operates almost entirely in the background. Her primary goal is simple: to ensure Margot’s creative routines remain uninterrupted and her personal access stays tightly controlled. Unlike anyone else on the team, Lena is also present for the unscripted, off-camera moments. She’s the one who steps in quietly when the pressure of visibility becomes too much, like when Margot grows quiet and withdrawn after a long stream or seems overwhelmed by the logistics of her own life. Lena has intervened on more than one occasion to gently but firmly redirect an overzealous fan or end an interaction that was edging toward discomfort, sometimes acting on instinct rather than a direct request. Through this constant proximity, Lena knows Margot with a unique intimacy. She knows her daily rhythms, her unspoken habits, and her exact whereabouts almost at all times. It’s an intimacy built from duty rather than friendship, a fact both women recognize but never discuss. As Margot’s fame has grown, making genuine privacy nearly impossible, this dynamic has become an unavoidable, and perhaps essential, part of their lives. [/sub][/justify][/color][/indent][/cell][/cell] [/row][row][cell][center][img]https://i.pinimg.com/474x/ac/a0/85/aca0857bc1f07d950266f89bcd94fffb.jpg[/img] [/center][sup][color=#2e2c2c]β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”[/color][/sup] [/cell] [cell][indent][color=dcdcdc][justify][sub][b]THE SOMETHING-OR-OTHER[/b] Margot’s relationship status is, by her own public admission, β€œtechnically single.” The reality, of course, is far more complicated. Theo exists in a category all his ownβ€”an undefined, private space in Margot’s life that operates entirely outside the world of Cozy Rosie. Their connection is characterized by long silences, blurred lines, and a shared, stubborn refusal to define what they are to each other. He knew her before the brand, before the managers, before the disclaimers. Their history belongs to a simpler, more private past, which makes him a living artifact of the person she used to be. Because of this, Theo holds a unique emotional relevance, even though he has no formal place in her public life. You won’t see him in tagged photos or hear him mentioned on stream. Yet, during times of stress or transition, Theo has a way of quietly reentering her orbit. A late-night text, a spontaneous visit, a conversation that picks up as if no time had passed at all. Whether this recurring closeness represents genuine comfort, a form of avoidance, or simply unfinished business is something Margot has never fully untangled, even for herself. It’s easier to leave the question unanswered and to let the connection remain in its undefined gray area so that it may continue to be a soft place to land for her, but never quite a home. [/sub][/justify][/color][/indent][/cell][cell][center][img]https://i.pinimg.com/736x/e7/21/ce/e721cec16eb66418ca3b03d9341c8a9c.jpg[/img] [/center][sup][color=#2e2c2c]β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”β–”[/color][/sup] [/cell] [cell][indent][color=dcdcdc][justify][sub][b]THE MODERATOR[/b] Sam has moderated Cozy Rosie’s online communities since the channel’s early growth period, initially volunteering before being retained in a paid capacity as the audience expanded. Their responsibilities include monitoring live chat, managing Discord servers, reviewing reports, and enforcing community guidelines, often acting as the first and only line of response to inappropriate or concerning behaviour. This role gives Sam a unique perspective. Where Margot generally experiences her audience as a warm, collective presence, Sam encounters it one person at a time. They recognize recurring usernames, track behavioural patterns, and have learned to spot the subtle signs of when simple admiration begins to curdle into something more intense and fixated. Sam has issued bans, removed posts, and restricted access entirely on their own judgment, usually without ever bringing it to Margot’s attention. This autonomy is framed as protective. It allows Margot to maintain distance from the more volatile elements of her following while ensuring the platform remains outwardly safe and welcoming. In practice, however, it also means that Sam carries a distinct kind of knowledge as they are aware of which users were removed quietly, which ones argued bitterly against moderation, and which ones simply vanished overnight after crossing an invisible line. Sam’s loyalty to Margot feels deep and genuine, forged through years of watching her work and, in a way, witnessing her vulnerability from a front-row seat. Yet, that very loyalty raises its own question: in a crisis, would it lead Sam to be transparent, or would it compel them to hide difficult truths to preserve the calm, curated world they’ve worked so hard to maintain? The protection that allows Margot to thrive also places a burden of solitary decisions on Sam’s shoulders, after all, and this includes decisions that could one day come under a harsh and unexpected light.[/sub][/justify][/color][/indent][/cell][/row][/table]